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Western Desert Art
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In 1961 under an assimilationist regime, the Commonwealth Government
established an Aboriginal Community by the name of Papunya some
250kms north-west of Alice Springs. With a population of some 1000
desert Aborigines (Pintupi, Anmatjera, Luritja & Warlpiri), many of
whom were ‘trucked in’ from their traditional lands, life soon
became a settlement of dysfunction, constant unrest and chronic
health problems.
Amidst all the despair and sense of hopelessness, the quality of
community life in 1971 was soon restored by the arrival of a young,
energetic and sympathetic art teacher, Geoffrey Bardon. Originally
sent to Papunya to teach elementary Western knowledge to Aboriginal
children, Bardon before long, had inspired and encouraged senior
Aboriginal men to transfer their traditional visual language
(U-shapes, concentric circles and journey lines) onto a range of
contemporary media such as chipboard, cardboard, plywood and
linoleum.
The Western Desert Art movement or otherwise known as the Papunya
Tula movement developed through a number of phases over the years
which have been marked by changes in style, technique, type of
imagery and even palette.
The art of the 1971-73 period was largely very unrestrained,
intense, somewhat raw and confined to small format, although, the
transition in 1972 from board to canvas resulted in more precise
workmanship and experimentation with a broad range of synthetic
paint. Painting content consisted mainly of naturalistic elements
many of which were of a sacred and secret nature.
By 1974, the naturalistic imagery, in particular those sacred
elements had been largely replaced by conventional symbols which
were ingeniously combined with background and foreground dotting.
Larger painting surfaces facilitated the depiction of artist’s
country, ancestral journeys and mythological events. As a result of
the Western Desert art movement being dominated by men (up until the
early 1990’s) painting subjects were essentially associated with the
mythological events of the Tingari, the creator beings, who
Aboriginal people believed, brought law and order to the people of
the Western Desert.
Throughout the late 1970’s and 1980’s the Western Desert Art
movement continued to evolve. One noticeable feature was the
increasing abstraction and linear quality of various painting
styles. Palette wise, however, artists overall preferred to maintain
the use of the four basic colours, yellow, white, red and black all
of which were used traditionally in either ground sculptures,
ceremonial designs and sacred objects.
The 1980’s also saw the return of many Western Desert artists
(nearly all of whom were Pintupi) to their traditional lands as far
west as the Gibson Desert in Western Australia. It was here that the
well known communities of Kintore and Kiwirrkura were established,
now home to second generation painters. With an expanding group of
artists, much enthusiasm and interest has also spread to other
desert communities such as Yuendumu, Balgo Hills, Lajamanu and
Utopia.
By 1994 a number of senior Kintore women (relatives of well-known
male painters) had joined the Papunya Tula or Western Desert Art
movement. Their very own, highly distinctive style (consisting of
thickly applied paint, spontaneous designs, and a broad colourful
palette) very soon contributed towards a most dynamic and innovative
art movement, one which continues to dominate the field of
Contemporary Aboriginal Art today, by way of ongoing art
acquisitions by State galleries and Institutions along with Museums
and major private collectors as well as prominent representation in
national and international exhibitions.
Gallery Gondwana is one of several leading commercial galleries who
continues to play an active role in the development and marketing of
the Contemporary Aboriginal Art Movement . Regular exhibitions such
as this ‘Western Desert Art’ allow Gallery Gondwana to showcase some
of the best of both established and emerging artists, many of whom
have been nutured and supported by the gallery and its staff.
© All text is copyright and may not be reproduced in full or part
without the permission of Gallery Gondwana.
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